The first Drum Nation album (“Volume One”) emerged as a
result of Pete
Morticelli’s vision. The head of Magna Carta had long observed that an
unusual sense of community existed among drummers—a rare breed, to be
sure!
What would happen if they were given free creative reign, license to
submit
music unfettered by commercial constraints? Thus was born Drum Nation
-
Volume One.

Volume Two continues the tradition. This time, Pete has ventured into the
label’s vaults and retrieved some of the most stirring performances
you’ve
ever heard—from indisputably the most influential drummers of our time.

One of these is, of course, Mike Portnoy. From his slamming half-time intro
groove on “Meetings” (Andy West with Rama) to his tribal toms
during the
bridge, he submits some of his cleanest playing on record. In the midst
of
syncing spot on with keys and guitar hits, he fans a mounting fire
of
excitement.

Pat Mastelotto is a drummer conversant
in electronic and acoustic drums. On“Toccata”, taken from Encores, Legends and Paradox, it seems
that the
acoustic kit prevails—but we’re never quite sure, such is the
broad palette
of tonal textures. Mastelotto creates a drum track that is a study
in
ambient concert hall orchestral dynamics—the syncopated rolls towards
the
exit are a perfect example. They transform neatly from playful
jazz-influenced improvisation to tightly scripted ensemble figures,
executed
with aplomb.

This is perhaps not your usual Dennis Chambers fare,
this track “One
Less
Worry” from Niacin. It lies somewhere in the jazz-meets-jam-band arena.
As
with any Chambers track, however, it is grounded in his iron-fisted
groove.
Catch the way Dennis builds a staggered, off-the-beat cymbal bell pattern
into a spectacular solo break that pays heed to the underlying pulse
while
vigorously accelerating to a rollicking double-time conclusion.

Ahh, the great Terry Bozzio, one of the most in command drummers of
our era,
here represented on “The Last Page” drawn from Bozzio/Sheehan:
Nine Short
Films. Billy’s restless and probing bass find the perfect tonal match
in
Terry’s prodding snares-off approach, not to mention those curtain-like
synth pads. Get ready for a nouveau beat poet interjection and the
frisky
drum interplay Terry constructs to enhance the lyric “quickening causes”.

“This is Clyde Stubblefield counting because I’m the opener!” And
with
that, the acknowledged guardian of funk leads the first Clinton
Administration line up into “Cosmic Slop”. A member of that aggregation
for
One Nation Under a Re-Groove, Clyde is one of the most sampled and
imitated
drummers in history, if only for his work on James Brown’s “Funky
Drummer”.
In “Cosmic Slop”, his drumming takes a less syncopated (but eminently
funky)
tack as a response to the dense backdrop of guitar (Phil Upchurch),
organ
(Robert Walter), and Skerik (sax). Also nailing it are Melvin Gibbs
on bass,
DJ Logic on turntables, and Chuck Prada on percussion.

Virgil Donati
is out of the gate frantically at the top of “Space
Martini”.
In typical Donati fashion, the feel is totally in rein, yet it has
a raw
punk edge. As the track progresses, Virgil’s seemingly obsessed drumming
reveals an uncanny telepathy with Derek Sherinian’s keyboards. All
the
while, running double bass drums underscore this largely vamp-driven
tune,
the snare occasionally rocking on all fours (again, that punk ethic!).
The
bridge features a harmonic resolution that balances out the track nicely.

There is nothing uncertain about Tim Alexander’s treatment of “My
Fellow
Astronauts” from Attention Deficit’s “The Idiot King” CD,
given his oft’
predisposition to airy, ethereal drumming. His tom work during Alex
Skolnick’s guitar solo is so deliberately punchy it reminds of Ginger
Baker
during his freest moments with Cream. But soon Tim’s back on full kit—pay
special note to the snare /cymbal interplay—and the Baker similarity
evaporates.

And now for something completely different, Keith
Carlock live on “Steroids”
from Oz Noy- Live. With its James Brown-ish guitar, the tune finds
Carlock
manipulating traditional funk patterns in crazy ways, ever-heightening
the
intensity. This is clearly not the Keith Carlock with Sting and that’s
okay:
He’s all over this track like a rash and he’ll have you scratchin’ something
fierce!

While the intro lush organ brings “Herd Instinct” (from
Andy West with Rama)
to life, Rod Morgenstein keeps the track alive and pumping with a variety
of
rhythmic devices. Everything from his half-open hi-hats juxtaposed
with
synth accents to his carefully manipulated kit work complementing oboe-like
patches is done with exquisite taste, vision, and muscle.

Ordinarily Simon Phillips tends to politeness, as befits a man of British
upbringing. These traits are absent on “The Barbarian” (from
Encores,
Legends and Paradox). Those signature Phillips bass drums, loose and
airy,
are put to full, plundering good use, right from the intro. Elsewhere
he’s
nailing a solid rock groove, supporting a recurring keyboard phrase
you
ought to find familiar. With his commanding fills and immovable time,
Simon
is the perfect drummer to add value to an ELP classic. Hard to believe
but
he cut the track in his house (with Ed Stasium at the board).

He’s in a one horse race, Josh Freese, in “Baby-Faced
Assassin”
(Stripsearch). His snare/tom/bass drum fills are a study in punk assed
power. Somehow they add to the anarchy prevalent here—while strangely
contributing order. Another listen to this track and you’ll conclude
that
Freese is a man in love with his instrument and its potential. And
this love
is downright infectious.

We sometimes take Anton Fig for granted. After all,
we’ve seen him
nightly
on Letterman for well over a decade. Time to pause and reflect on his
percussive depth, his refined sense of humor, and the obvious research
he’s
conducted in order to manage a part such as the one on this cover of
The
Meter’s “Cissy Strut” (OZ Live by Oz Noy). This version
features dropped
beats, unexpected key modulations, and an incontrovertible groove that
alludes to Ziggy’s quirky hi-hat part.

And finally we have the New Orleans prodigy, Stanton Moore,
tackling an old
Sly And The Family Stone favorite, “Family Affair” (from the
Clinton
Administration’s “Take You Higher”), making it dance with
his happy-go-luck
groove and jalopy fills. He certainly is at home with Robert Walter
on
Hammond B3 and three exceptional guitarists: Firkins, Haque, and Hitchcock.
The joy, if not already obvious, begins to bubble over the pot during
Eric
Levy’s Rhodes solo and thereafter. Check out the guitar/drum fill at
5:15,
pure creative collaboration, pure family affair, and, what’s more,
pure
drumming spirit as manifested in Drum Nation!